In 2015, P.A. Works produced what would be remembered as one of the best shows of the year, Shirobako. The series was, funnily enough, an anime about making anime. It was praised for its depiction of the hardships of working in the industry as well as the optimism with which it approached its story of overcoming hardship.
There have been a few shows that have dealt with similar subjects, usually in a business-type setting. There was New Game, about game development, Girlish Number, a cynical comedy about the darker side of anime production, and all-in-all, plenty of shows about working women in creative fields.
However, no other show quite retained the same popularity and acclaim over time quite like Shirobako. That is, until now. After ONA’s like Devilman and films like Ride Your Wave and The Night is Short, Walk on Girl, Masaaki Yuasa returned to TV anime for something truly special.
Eizouken ni wa Te wo Dasu na, or Keep Your Hands Off Eizouken, might very well be one of the most uplifting, insightful, and inspiring shows I’ve seen in a very long time. It does for the industry much what Shirobako did, openly disclosing the ups and downs of the business, but in a way far more imaginative and stylistic than it’s predecessors.
I finished watching the conclusion to Psycho-Pass 3, titled “First Inspector,” just before writing this. After eight 45-minute long episodes, the story concludes with a “film” meant to wrap up the season’s plot threads that had felt unfinished. My thoughts were a mixture of “ok, cool” and “what the fuck even was that?.”
I should address a mistake on my part right out of the gate. Back in the final part of my Psycho-Pass retrospective, I claimed that First Inspector would be a recap film. I was incorrect. Info at the time led publications to believe that was the case but, no, they wrapped up the story in a neat little bow, which I appreciate.
However, I don’t think I’ll be referring to this as a film so much as a delayed finale. For some reason, Amazon divided the story into three episodes, despite it being marketed as a film and even given a limited theatrical run in Japan. Though, if I’m honest, judging by the production quality, I can’t imagine being impressed by the visual quality magnified on a theater screen, save for maybe the final episode.
If the snark was any indication, this may not be the most positive review. Far be it from me to spoil the verdict before you’ve even scrolled down or clicked “read more,” but if you weren’t the biggest fan of season three, the ending probably isn’t going to make you change your perspective. Regardless, here are my thoughts on how the film tied up one of the most ambitious sequels to Psycho-Pass yet.
Video game adaptations are almost always bad. The best of them excel only on the condition that you overlook large caveats, be they performances, the script, or how faithful the project is to the original. Video games are hard to adapt. You’re either trying to appeal to fans and alienating movie-goers or vice-versa. Both can fail depending on what is being adapted and how.
In the mid-2000s’, Warren Ellis wanted to make a direct-to-video animated film based on Castlevania. While the script was approved by Konami, the work ended up stuck in production hell for years. Adi Shankar, a producer who went viral with his “Bootleg Universe” series of fan-films, eventually was approached about producing an animated series based on Ellis’ script. While he turned down the same idea for a live-action film, believing live-action wouldn’t fit, he was more than happy to work on this one.
So eventually, Netflix adapted Ellis’ script into an animated series produced by Powerhouse Animation, an American studio. The first season – all four episodes of it – came out in July of 2017 and took the internet by storm. Everyone, myself included, was instantly clamoring for more. With the release of the second season in the fall of 2018, the show revealed even more of its potential with a longer season, more character drama, and even better animation.
With the recently released and certainly shocking third season fresh in our minds, it might be good to look back on the series as a whole thus far. It’s certainly the best video game adaptation, but is that saying a whole lot? Is Castlevania more than just the sum of its gorgeous animation?
While not necessarily in vogue among anime critics lately, it isn’t hard to find rankings of very specific subjects within the community. “Top 10 Strongest Anime Characters”, “Top Ten Anime Villains”, “Top Ten Anime Couples”, etc. And of course, who could forget the perpetually memed “Top Ten Anime Betrayals,” which I don’t think I’ve ever seen created unironically.
However, while overdone, it has never felt like the kind of thing that anime critics do begrudgingly out of some unspoken tax as per the job. After all, anime has a lot of cool shit and fights are no exception. It’s only obligatory so far as such a thing is relatively easy to create and an ample excuse to ramble about things we like. That’s half the reason people like me become critics anyway.
So in no particular ranked order, here are a few my favorite anime fight scenes.
Last week I raved about the best film of 2019, Penguin Highway. Initially, I wanted to get a head start on a new multi-part series of reviews but things take time. January tends to be a time to reflect on the previous year anyhow so why not keep the ball rolling. I watched more shows this year than I have in a while and there are still more which I missed, but for now, here are my top five TV anime of 2019.
While pondering what to write for the last two weeks of November, I wondered if I could actually watch all of Demon Slayer in just week. After all if it would feel wrong to end 2019 without watching it. Friends of mine with all manners of different taste have been telling me how great it is all summer. But given the long hiatus between starting shows like Dororo and Shield Hero and finally finishing them, I wondered if I could pull it off.
Turns out it was pretty easy…
This week reminded me that I can still binge a show when I put my mind to it. It helps when the story in question is just that good. From Ufotable, the masters behind the best of the Fate series and Garden of Sinners, comes one of the best shows of 2019, Demon Slayer.
More and more lately I find shows and films that I call “pseudo-nostalgic.” They are stories that fill me with a sense of yearning for the days of older trends in storytelling, even if the subject matter is not something which was known to me when I was younger. Are these films and shows which I attribute this label just banking on nostalgia? I don’t think that’s a fair assessment. I believe revisiting an old formula in a new time can feel just as refreshing and an older story adapted for the now can be made to fit in rather nicely. Today, I’m reviewing an adaptation a long time in the making… 52 years to be exact. This is Studio MAPPA’s Dororo.
Honestly, I’ve never been too worked up over finding originality. I know that a tried and true story can still be told in over a million ways. Is the setting a fantasy where it used to be sci-fi? Are there comedic beats or is it more series? What sets this apart from others? John Wick‘s concept wasn’t necessarily original, but we never saw a revenge film about a dog being killed, nor did we see one with such elaborate world-building.
Even the most acclaimed creators’ works can be traced back to the maker’s inspirations. Media is all about inspiration and telling old stories in new ways by combining myriad elements in a really creative way. Today, I want to look at a film that in a lot of ways is unoriginal, but that I don’t think has to be discarded because of that. From Studio 3Hz and director Kazuya Nomura comes Black Fox, a new film that just recently released on Crunchyroll.
I have tried to watch Soul Eater on four different occasions and the farthest I’ve gotten is episode four. When I tell my friends this, they are surprised (for good reason). I have long been a huge fan of the works of Studio Bones, with two of my three favorite shows of all time having been made by them. I’m also a huge fan of sakuga and consider it to be one of the coolest things about watching anime. Most importantly, Takuya Igarashi is one of my favorite directors of all time.
That I was unable to get into a show applicable to all three above qualities is entirely explainable but still a head-scratcher. Especially if you’ve read any of my posts on Studio Bones in the past, it seems like a show I would love. The short of it was that the writing and characters did nothing to draw me into the show and I was somewhat bored.
But when I saw the trailers for David Production’s adaptation of Fire Force – another work from Soul Eater author Atsushi Okubo – I got excited. The artwork and music conveyed a darker tone and got me thinking that a different kind of story by the same creator might be more to my liking. Hell, it already looked like a show by Bones anyway and David Productions has been growing steadily thanks to stuff like Jojo’s Bizarre Adventure. Fire Force quickly became my most anticipated show of the summer.
Now, as Fire Force‘s first season nears the midway point, I’m left a little underwhelmed. How did such a promising show fail to meet my expectations? More importantly, is it good enough to continue watching?
In my review of season one, I praised how ONE manages to make overpowered characters likable and their stories tense through sheer emotion. This story about self-betterment and the discussion permeating the spectacle made battles ones of ideology in addition to super-powered flair. With a sequel, how does one continue this discussion without becoming repetitive?
Sequels can often succumb to a temptation to be like their predecessors, but bigger and better. Doing something different, even radically so, can be remembered better, but it is far more risky. That being said, you don’t have to be radical in order to make the sequel interesting in new ways. Sometimes it simply requires a change in focus.